Yamaha Electone CSY-1 User manual

GUIDE TO YOUR
YAMAHA ELECTONE ORGAN csv. |
with SOLO SYNTHESIZER

Congratulations on your selection of a Yamaha
Electone Organ Model CSY-1 with Solo Synthesizer.
It's the world's most advanced and newest musical
instrument, carefully designed and built to provide
a lifetime of musical enjoyment. In addition to the
familiar Electone voices, 13 realistic instrumental
voices апа one more creative sound effect, "Funny";
are available.
To make sure you get the most from its many
features and electronic circuitry, please read this
manual thoroughly before attempting to play your
Yamaha CSY-1.

ШШ
THIS 15 YOUR YAMAHA ELECTONE ORGAN
CSY-1 WITH SOLO SYNTHESIZER ........ 2
KEYBOARDS» «5 rd veas OCA RS 3
TUNING rita ads esca а ТА Dies 5
SYNTHESIZER ЅЕСТІОМ................ 6
PRESET TONE LEVERS аа 6
VARIABLE EFFECT CONTROLS ........ 7
FILTER о зула ты bri fa a ia PA ES 7
ENVELOPE s ovi eateries ux 7
ҮІВВАТО.......... EENE 8
ATTACK ВЕК px НЫ 8
PORTAMENTO ...................... 8
TOUCH CONTROL 255 oxi cag oct tote 9
SYNTHESIZER МОГОМЕ............... 9
ELECTONE БЕСТІОМ................... 10
TONE LEVERS ааыа) 10
EFFECT LEVERS ..................... 12
EFFECT CONTROLS «center e 13
SOUND-IN-MOTION TREMOLO .......... 14
AUTO RHYTHM SECTION .............. 15
STARTING RHYTHM WITH THE FOOT
SWITCH duce dauid se aH 17
AUTO BASS/CHORD ЅЕСТІОМ........... 18
TO FULLY ENJOY YOUR CSY-1......... 22
CARE OF YOUR CSY-T xe korr reds 23
DO NOT ВЕ ALARMED IF.............. 24
SPECIFICATIONS << eins eorr one vai 25

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19
Ü
1
4
B
6)
7
Tuning Control
Portamento Control
Attack Bend Levers
Vibrato Controls
Envelope Controls
Filter Controls
Preset Tone Levers
Transposition Levers
Touch Controls
Keyboard Selector Lever
Electone Selector Lever
Synthesizer Selector. Lever
Synthesizer Volume Control
Auto Rhythm Section
Lower Manual Tone Levers
Effect Levers
Upper Manual Tone Levers
Power Switch
Auto Bass/Chord Lever
Bass Variation Buttons
Pedal Tone Levers
Effect Controls
Pedals
Lower Manual
Rhythm Foot Switch
Expression Pedai
Upper Manual
Tremolo Selectors
Tremolo Speed Controi
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NOTE: The circled numbers refer to explanatory sections in the text to follow.
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The CSY-1 has three keyboards. The upper two are
called "manuals" and the lower one, played with
the feet, “pedals.” They have keys and octaves
as follows:
Upper Manual 44 keys (3% octaves)
Lower Manual 44 keys (3 23 octaves)
Pedals 13 keys (1 octave)
The CSY-1 is designed to permit playing the melody
on the upper manual with the right hand, the chords
One octave
UPPER
MANUAL
UU
ІТІГІГІЛІГІГІГ
on the lower manua! with the left hand, and bass
notes on the pedals with the left or right foot.
All keys are arranged in the traditional keyboard
method: two black keys, three black keys. Each
white key has a name (from A to G), and the blacks
are sharps or flats. “С” is always the white key
just below the left black key in the two-black-key
group. Any complete set of seven white keys and
five black keys is called an "octave:'
LOWER
MANUAL
PEDALS

You can play synthesizer voices on either the
upper manual or the pedals. Many combinations
can be made by combining the positions of the
three levers at the right of the panel: Keyboard
Ф). Electone @,and Synthesizer Selector (p
levers.
1. When you use the CSY-1 as an Electone organ:
Unless the synthesizer selector lever is de-
pressed, you hear no synthesized voices regard-
less of the positions of the other two levers.
(000 ғ SYNTHE
2. When you want to play the synthesized voices,
but not the Electone voices, on the upper
manual:
3. When you want to play both the synthesized
and the Electone voices on the upper manual:
КЕҮ- à ELEC. ' 2EISYNTHES Соога.
: -SIZER: E.

4. When you want to play the synthesized voices,
but not the Electone voices, on the pedals:
5. When you want to play both the synthesized
and the Electone voices on the pedals:
On the front panel, to the right of the preset tone
levers, there are four transposition levers @.
These levers shift the synthesized voices up one
or two octaves, or down one octave, When you
depress two or more transposition levers at the
same time, you hear only the one furthest to
the right on the panel, When no transposition
lever is depressed, you hear the keyboard as if
the "normal" transposition lever was depressed.
The Solo Synthesizer section of the CSY-1 is
designed. to. sound one note at a time; if you
depress more than one key at the same time, you
will always hear the highest note.
The. volume of the synthesized voices is affected
by the expression pedal @ .
To tune the Solo Synthesizer section of the CSY-1
with the Electone or another instrument, wait
about one minute after it is turned on. Then
push down the Flute preset tone lever and the
vibrato. lever to the “control” position, and slide
the vibrato depth control to the “minimum” posi-
tion to eliminate the vibrato. Slide the “tuning
control" @ (at the extreme left of the panel) to
the left (flat) or right (sharp) until you obtain
the right pitch; the. pitch. can be increased or
lowered about 100 cents (one semitone) in relation
to the standard pitch.

Surat
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Your CSY-1 has 14 preset tone levers on the
front panel @. When you. depress one of the
levers and push a note, you hear the sound of
the instrument voice identified by name on the
lever panel. It is designed to create the sound of
GLASS HG майана у
NE TRUMPE
only
one
instrument
at
a
time.
If
you
depress
more
than
one
preset
tone
lever
at
the
same
time,
you
hear
only
the
instrument
selected
by
the
lever
furthest
to
the
right
on
the
panel.
When
no
levers
are
depressed,
you
hear
no
synthesized
voices.
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SAXOPHONE
DBOE
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HARPSICHORD
BASS
TUBA

The
synthesizer
of
your
CSY-1
has
a
number
of
variable
effect
controls
to
permit
you
to
vary
the
effects
of
the
preset
synthesizer
voices
and
to
create
a
new
world
of
musical
expression.
To
introduce
them,
depress
the
corresponding
effect
lever
down
to
the
"control"
position;
this
cancels
the
preset
amount
of
that
particular
effect.
FILTER Q
Simply
stated,
a
filter
alters
the
harmonics
con-
tained
in
a
note
to
change
its
color
or
timbre.
Each
of
the
preset
tones
has
as
a
design
feature
the
characteristic
harmonic
structure
and
resonant
points
that
identify
a
particular
instrument.
Switch the filter to manual control by putting
the filter lever in the "control" position (down).
You can now control the filter characteristics
(from lowpass to highpass, and degree of reso-
nance) with the cutoff frequency and resonance
controls.
The
closer
the
cutoff
frequency
control
is
to
the
high
position,
the
more
harmonics
are
allowed
to
pass
through
the
filter
resulting
in
a
very
brilliant
sound.
When
you
slide
the
cutoff
fre-
quency
control
from
the
"low"
to
“high”
while
holding
a
key
down,
the
sound
you
hear
changes
from
soft
and
muted
to
bright
and
crisp.
In
the
meantime,
the
closer
the
resonance
control
is
to
the
maximum
position,
the
more
nasal
the
sound
becomes,
emphasizing
the
frequency
just
before
cutoff.
When
you
set
the
resonance
control
in
its
center
position,
you
can
create
a
wah-wah
effect
by
sliding
the
cutoff
frequency
control
left
and
right.
€ P—— Ó!
ENVELOPE Ө
The term “envelope” may seem strange, however,
every sound event has an envelope. If you draw
a heavy line connecting the peaks of the sound's
waveform, you would have the event, or "en-
velope" waveform. Synthesizers employ separate
envelope generators with. a varying number cf
controls to adjust the different portions of the
envelope wave shape. The Yamaha CSY-1 preset
voices all have preset attack and sustain envelope
patterns. In the preset position, the "attack"
(the time required for a note to reach full volume)
and the length of time the note sounds (sustain
and release) are adjusted for you in advance. By
placing the envelope lever in the control position,
the preset envelope is cancelled and the variable
attack and sustain controls are now functional.
When the attack control is set to “slow”, a long
rise time results. When the sustain control is set
to 'long" the tone will continue. to sound for
quite some time after the key is released. Con-
versely, when the controls are set to fast and short,
a staccato tone will result.
MÀ 7 ENVELOPE

VIBRATO Ө
The
effect
called
“vibrato”
is
a
familiar
one
to
almost
every
one
involved
in
music.
The
term
actually
indicates
a
change
in
frequency,
both
above
and
below
the
normal
pitch
of
the
note.
This
change
is
quite
small
and
is
not
to
be
confused
with
other
effects.
The
vibrato
lever
(section
@)
cancels
the
preset
vibrato
included
in
some
of
the
preset
voices,
i.e.,
flute,
trumpet,
oboe,
etc.,
and
enables
the
performer
to
adjust
the
rate
(speed)
and
depth
to
their
own
taste.
There
are
controls
for
speed
(right-hand
slide
causes
a
faster
vibrato
rate)
and
for
depth
(right-hand
slide
increases
the
amount
of
change
in
pitch).
Note:
The
rate
of
“wah-wah”
included
in
the
tone
of
“funny”
as
a
preset
part
of
the
voice,
can
be
altered
using
the
vibrato
controls.
Place
the
vibrato
lever
to
"control"
position,
set
the
vibrato
depth
control
to
the
minimum
(extreme
left)
position.
You
can
now
adjust
the
vibrato
speed
contro!
to
obtain
the
desired
rate
of
wah
without
introducing
a
vibrato
effect.
ATTACK BEND ©
Attack
bend
has
two
levers:
the
pitch
bend
that
lowers
a
note
a
little
in
pitch
the
moment
it
is
pressed
and
the
tone
bend
that
changes
the
timbre.
With
the
pitch
bend
lever
depressed,
a
note
will
be
lower
by
about
100
cents
(one
semitone)
in
pitch
the
moment
a
key
is
depressed,
then
return
to
the
normal
pitch
gradually.
The
tone
bend
lever
alters
timbre
by
adjusting
the
extent
to
which
a
note
changes
in
tone
to
sound
its
intended
sound
after
the
key
is
pressed.
Since
the
levers
are
independent,
you
can
introduce
pitch
bend
or
tone
bend,
or
both
at
any
time.
PORTAMENTO Ө
The term ""Portamento" is a latin musical notation
used to indicate a sound gliding continuously
from some selected note (frequency) to a second
selectable point, sounding all the intermediate
frequencies. This effect is designed to function
between
any
two
keys
played
in
sequence,
either
higher ór lower. The time required for the pitch
to shift from the first note played to the second
(oscillator slew rate) is controlled by the porta-
mento control. Sliding the control to the right
increases the time required for the pitch to reach
the normal pitch of the second key played.
Conversely, sliding it to the left results in a very
short period (fast slew rate).